Panasonic’s ‘Lumix Stories’ Videos made by Griffin Hammond Show Lumix Cameras’ Popularity Amongst Pro Photographers

Although the buzz across the Internet about the Panasonic Lumix DC-GH5 still seems to be focussed on its remarkable video capabilities, the fact remains that the GH5 is also an excellent camera for stills photography. 

I proved that to my own satisfaction during the loan of a GH5, producing stills as effective and as high quality as the video I made with the same camera and lenses.

The buzz on the many photography and movie industry fora that I visit continues to centre on the GH5’s video capabilities, ignoring or denying that it can be used to make great stills as well, so showing how professional photographers rely on the GH5 makes good sense.

About the Lumix Stories project

Photographers are dropping the DSLR in favor of lighter and more media diverse mirrorless cameras. Panasonic lead the development of the first mirrorless digital camera to replace the aging DSLR platform in 2008 with the LUMIX G series.

Today photographers are experiencing the benefits and flexibility of a lighter more compact interchangeable lens system camera that adds modern features like 4K video, in camera video to still conversion, combined body and lens image stabilization, and touch screen controls.

Follow the stories of several Lumix Ambassador professional photographers as they explore why the LUMIX G Mirrorless Micro Four Thirds system camera works for them.

The Videos

Pro Photographers are Switching to Lumix Cameras

Ben Grunow, Landscape Photographer & Videographer

Daniel J. Cox, Wildlife Photographer

Jennifer Maring, Lifestyle Photographer

Kevin T. Gilbert, Professional Photographer

William Innes, Wedding Photographer

Links

Image Credits

Header image concept and hack by Carmel D. Morris.

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Clicking on these affiliate links and purchasing through them helps us continue our work for ‘Untitled: Stories of Creativity, Innovation, Success’.

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Resident Advisor: Longtime dance music photographer Sarah Ginn quits the industry due to ‘misogyny and bullying’

https://www.residentadvisor.net/news.aspx?id=40002

“Well-known London music photographer Sarah Ginn is quitting the industry due to persistent “misogyny and bullying.”

In a note posted to Twitter last night, Ginn says that she has been forced to endure blatant sexism for years, treatment that is now causing her to walk away from music entirely….”

Fstoppers: Is the Nikon D850 for Men Only?

https://fstoppers.com/originals/nikon-d850-men-only-195822

“The Nikon D850 is quite the beast of a camera. It holds a massive 45.7-megapixel full-frame sensor that can record 4k video and create 8k time-lapses…. The only problem with such an amazing monster of a camera is that Nikon thinks it’s too much for women to handle….

… I myself can think of a large number of women photographers that would be more than capable of producing spectacular images with any camera, let alone this camera. But when Nikon created a team of 32 professional photographers to be the faces of the Nikon D850, they didn’t choose a single woman photographer….”

Links

PDN: Sexism in the Photo Industry: Can’t We Do Better?

https://www.pdnonline.com/features/industry-updates/sexism-photo-industry-cant-better/

“… Sexism—from paternalism to discrimination to outright harassment—is a problem in just about every work setting, and the photo industry is no exception. As photographer Nadiya Nacorda puts it, “Sexism does not stop at the photo industry’s doorstep. It comes inside, and goes in your fridge, cracks open a beer, and sits on the couch.” Female photographers we interviewed expressed anger, frustration and resignation over the sexism they frequently encounter. They also expressed defiance—and hope….”

if.com.au: Screen agencies, guilds and broadcasters make formal commitment to diversity

http://if.com.au/screen-agencies-guilds-broadcasters-make-formal-commitment-diversity/

“Key organisations from across the screen industry have made a united and formal commitment to work towards building a more inclusive sector….

… To join the SDIN, all of the organisations have had to officially commit to a charterthat enshrines equal opportunities, regardless of age, gender, sexual orientation, nationality, religion, disability or geographic location.

The charter obligates each organisation, inter alia, to reflect the diversity of Australian society in both who they hire and stories they create, to establish benchmarks around diversity, and to commit to seeking out and supporting diverse emerging talent….”

Links:

Photography Industry Gender Equality Inches Forward with Fujifilm Camera Videos Featuring Female Photographers

Congratulations to Fujifilm for adding six videos featuring female photographers using the newly announced Fujifilm GFX 50S, Fujifilm X100F and Fujifilm X-T20 cameras.

Gender inequality and female invisibility otherwise continue to be rife within all aspects of the photographic and movie industries and one of the most important ways of combatting this is with female visibility.

As the Geena Davis Institute on Gender in Media says in its excellent motto, “If she can see it, she can be it.”

By extension, if females see other females shooting photographs and making movies, then we may well assume that we, too, stand a chance of doing it ourselves, of making it in the creative and media industries, and even of being featured in industry PR and advertising campaigns as Fujifilm has done.

Take a look at the low percentage of female photographers featured as photography and movie industry brand ambassadors and the many articles written about gender inequality in the movie industry in particular.

It can be just as mediocre in photography and the other media and creative industries.

This tendency must be reversed with conscious efforts by industry manufacturers as well as employers and clients.

Thank you, Fujifilm, for recently adding six women to your GFX Challenges, X100F and X-T20 video series. More, please, and please add more women to your X-Photographers ranks, especially in Australia.

The Six Videos:

Fuji Guys Channel –Karen Hutton and the X-T20 in California (USA)

Fuji Guys Channel – Valerie Jardin and the X100F in Minneapolis (USA)

FUJIFILMglobal – GFX challenges with Claire Rosen / FUJIFILM

FUJIFILMglobal – X-T20: Elke Vogelsang x Dogs / FUJIFILM

FUJIFILMglobal – X-T20: Saraya Cortaville x Portrait/ FUJIFILM

FUJIFILMglobal – GFX challenges with Victoria Wright/ FUJIFILM

Image Credits:

Header aka featured image created for this website in Photoshop by Carmel D. Morris. Product photographs courtesy of Fujifilm.

Fujifilm Heralds Coming GFX 50S with ‘GFX Challenges’ Video Series, Plus More

Fujifilm announced the development of its new digital medium format GFX system back in September 2016 with the promise that the “Fujifilm GFX 50S  will give professional photographers the most extraordinary image quality in the history of Fujifilm”. 

Time is rushing by and the first quarter of 2017 will soon commence, during when we can expect the release of the Fujifilm GFX 50S camera with 43.8 x 32.9mm 51.4 megapixel non-X-Trans sensor and three lenses initially with three more to came later in the year.

The first three GF lenses are:

composite_63_zoom_120_1920px
From left, not to scale: GF63mmF2.8 R WR, GF32-64mmF4 R LM WR and GF120mmF4 Macro R LM OIS WR.
  • GF63mmF2.8 R WR – standard prime lens equivalent to 50mm in the 35mm format.
  • GF32-64mmF4 R LM WR –  wide-to-standard zoom lens equivalent to 25 to 51mm in 35mm format.
  • GF120mmF4 Macro R LM OIS WR – stabilized mid-telephoto macro prime lens equivalent to 95mm in 35mm format.

The next three GF lenses will be:

composite_23_45_110_1920px
From left, not to scale: GF23mmF4 LM WR, GF45mmF2.8 R WR and GF110mmF2 R LM WR.
  • GF23mmF4 R LM WR – ultra-wide prime lens equivalent to 18mm in 35mm format.
  • GF45mmF2.8 R WR – wide-angle prime lens equivalent to 35mm in 35mm format.
  • GF110mmF2 R LM WR – wide aperture mid-telephoto prime lens equivalent to 87mm in 35mm format.

Bernd Ritschel

Claire Rosen

Gary Heery

Hiroshi Nonami

Itaru Hirama

Ivan Joshua Loh

Jan Gonzales

Jonas Dyhr Rask

Knut Koivisto

Lito Sy

Lucio Romano

Minoru Kobayashi

Natan Sans

Pål Laukli

Per-Anders Jörgensen

Philipp Rathmer

Philippe Marinig

Piet Van den Eynde

Romeo Balancourt

Sangsun Ogh

Satoshi Minakawa

Seiichi Nakmura

Serkan Günes

Shiro Hagihara

Supalerk Narubetkraisee

Victor Liu

Victoria Wright

Wayne Johns

Yinghui Wu

FUJIFILMglobal –Development of Professional-use Mirrorless Camera System “GFX” / FUJIFILM

Fujifilm’s History of Photographic Achievement

Fujifilm has a long history of achievements and innovations in the photographic sphere and especially in medium and large format photography.

Richard Avedon was a devotee of Fujifilm’s large format lenses for his 8″x10″ sheet film cameras and Greg Gorman relied on the Fujifilm GX 680 series as his main studio portrait cameras for some years.

Fujifilm’s dedication to medium format has been evident from its first 120 format camera, the Fujica Six, through the Fujica G690, Fujica GS645 series, the amazing Fuji Panorama G617 Professional, the Fujica GS645 Professional series, the Fujica GA645 Professional and the SLR-style Fujica GX680 series with camera movements and bellows. Other highlights along the way were the Fujica GW690 and related 120 rangefinder models.

I once spotted the great German-Australian photographer Helmut Newton toting a Fujica GS645 Professional on his way to a magazine portrait assignment and fell in love with that camera for the purpose, an unrequited love affair alas, as it was with other Fujica cameras due to them being hard to get outside of Japan.

Then Fujifilm switched over to digital-only camera and lens manufacturing, though I recall seeing a pair of Fujica GF670 series 120 roll film cameras – a folding GF670 with standard lens and a GF670W – at a trade show in Sydney before the Convention and Exhibition Centre was knocked down for redevelopment that has only just been completed.

I hope that the big photography and video production trade shows will be coming back to the new International Convention Centre Sydney in Darling Harbour soon – it has been far too long without them.

Camera and Lens Choices

As a magazine editorial portrait photographer, I relied on medium and large format cameras for the way they caused my subjects to quickly settle down and and start projecting to the reader via the camera and lens. That was very different to how they related to 35mm rangefinder cameras and different again to 35mm SLR cameras the few times I used them on assignment.

Just before stepping out of professional photography for a time due to extreme photochemical allergies, I had planned on rationalizing my gear with Fujica 6×4.5cm 120 roll film cameras and the GX680. A GX680 III might have been a good choice with which to enter the digital age as Fuji later introduced a digital back, the DBP for GX680, though that was reportedly only available in Japan.

The GX680 series was celebrated for its big range of top notch lenses, 17 in all with one of them a zoom lens, as well as an even larger range of accessories. Lucky owners reported that their experience of the GX680 was a little like using a small view camera, a little like using a 120 format SLR and a little like using a motor drive SLR.

From what little I have seen of using the GFX 50S, its user experience seems like something of a hybrid too, given its fealty to Fujifilm’s X-Series cameras and lenses and even, perhaps, aspects of the FinePix S5 Pro and its S-Series predecessors. We will learn more soon and I am hoping Fujifilm Australia will host a GFX 50S launch event similar to its X-T2 event earlier this year to enable some hands-on experience.

Back to my editorial portraiture experience. I would often be lucky to get not much more than fifteen minutes to meet, greet, assess, set up, light, shoot then pack up for a typical portrait session. That was a product of expectations created by other magazine and newspaper photographers’ typical modus operandi, and client requirements of three to five such assignments per day.

The challenge was to come up with enduring, insightful portraits of two basic types, a landscape aka horizontal format environmental portrait and an intense vertical format full-face portrait. If time allowed I would grab more candid shots with my Leicas. My clients rarely needed more than those two types of portraits, though, one for the article intro and often full-page and the other in the body of the article.  I like some focal lengths for 1:1, prefer others for 4:3 and 3:2, and others again for 16:9.

I used a medium wide angle lens for the environmental portrait, lens stopped down for detail and camera mounted on a tripod. A medium long telephoto macro lens was perfect for the emotionally-engaging full-face portrait. I usually carried a three-light flash kit but substituted it with a single continuous light when needing to shoot in 35mm only.

Looking at Fujifilm’s 2017 GF-Series lens list, of the three to be released in the first part of the year I would choose the GF 120mm f/4 R LM OIS WR and the GF 32-64mm f/4 R LM WR.

The 120mm’s OIS is a real bonus for handholding close and framing tight under continuous light. The 32-64mm’s wide to standard focal range provides framing choices in tight interiors. I would stop both lenses down to f/5.6 as a matter of course, and more again with the wide end of the zoom lens for even more environmental detail if needed.

Out of the three lenses to be released mid to late 2017, the faster lenses look interesting. But, so much hinges on how the camera handles, what configuration works best for what sorts of subject matter and which genres, whether it will be handheld or tripod-mounted, and whether it will be used in available light, continuous artificial light or flash and even what aspect ratio one is shooting for.

Time will tell. Meanwhile I have fingers crossed that one of the rental studios around here may consider adding a full Fujifilm GFX 50S camera and lens kit to their equipment hire inventory.

Raw Processing and Image Editing

Right now it is impossible to predict if and when software companies making raw processors and raw-savvy image editing software will begin supporting the Fujifilm GFX 50S.

But one thing is almost guaranteed, Fujifilm will be supplying an updated version of its Raw File Convertor aka RFC software “powered by SilkyPix” as soon as the GFX 50S is released and it will be available to download and use for free.

RFC is a special edition version of a product by Ichikawa Soft Laboratory Co. Ltd, made in two regular versions, SilkyPix Developer Studio 7 and Developer Studio Pro 7. Having used neither of these the precise differences between RFC, Studio 7 and Studio Pro 7 are unclear to me but RFC is enough for my purposes given I use other raw processors and image editors as well.

Complaining about RFC is almost a cliché in the online world, and while it is true that its user interface is unlike most others’, it is reliable and powerful.

Due to Fujifilm’s special relationship with Ichikawa Soft Laboratory, RFC will always be updated to handle each new Fujifilm camera’s raw files and it will always have Fujifilm’s proprietary raw demosaicing algorithms built in.

Adam Bonn has published an excellent multi-part series of articles on how to get the best out of Raw File Convertor, starting at How to Use the Fujifilm RFC Raw Convertor: Part One.

Where are the Fujifilm-Using Girls?

So far the ‘GFX Challenges’ series numbers sixteen videos and I hope that more are to come, especially some featuring female photographers.

Female professional photographers are just as likely to use medium format digital camera systems as non-female pro photographers, as I can personally attest having been a professional magazine photographer as well as photography client commissioning many of the finest female and non-female photographers in the world to shoot for advertising campaigns and magazines.

Non-Australian female photographers visibly working at the top end of photography had a major effect on my decision to take up professional photography in an era when women were almost completely unknown as pro photographers here.

It was one of those then incredibly rare Australian female professionals who recruited me as a teenager into working for a wedding and portrait studio, using big, heavy, clunky analog medium format cameras and big flash units, and it was another Australian female photographer who showed me that the same subject matter could be brilliantly tackled in a different way with 35mm analog rangefinder cameras.

I owe both those Australians a debt I can never repay, and I owe the same to the great female photographers around the world who inspired me, with whom I have worked, commissioned, produced or about whom I have written.

I hope that, some day very soon, all camera and photography hardware and software companies will recognize the crucial contribution female photographers have made and continue to make to the art and craft of photography by adding equal numbers of women to their professional and ambassadorial ranks.

I cannot help but note that Fujifilm, for example, currently includes only one female photographer in its 18-strong Australian X-Photographers line-up. Surely there is more than one qualified Australian woman using Fujifilm cameras?

Postscript:

As of January 26, 2017, Fujifilm has released 30 GFX Challenges videos via its FUJIFILMGlobal YouTube channel, 28 of which feature male photographers and 2 of which feature female photographers.

Billy Luong, manager for Fujifilm’s Technical Marketing and Product Specialist Group, shared that: “With the GFX we had something like 50 photographers around the world using pre-production cameras.”

Does this mean that there may be more than 2 female photographers in that group?

The issue of the low inclusion and poor representation of women in the creative industries is a crucial and ongoing one. As the Geena Davis Institute on Gender in Media‘s excellent motto goes:

If she can see it, she can be it.

Female photographers need vastly improved inclusion and representation in photography and video industry marketing efforts. A male to female ratio of 14:1 in this instance must be improved upon.

Consider the message that such a low female inclusion rate sends.

Further reading:

Image Credits:

Header image by Carmel D. Morris.